Batman
defends Gotham City, the world and the universe at large everywhere and in any
time with the assistance of various DC Comics Heroes, historical figures and
intergalactic entities.

----------------------------------------------

Key
Episodes:

“Rise
of the Blue Beetle!”

“Evil
Under the Sea!”

“Enter
The Outsiders!”

“Journey
to the Center of the Bat!”

“The
Color of Revenge!”

“Legends
of the Dark Mite!”

“Last
Bat on Earth!”
“When OMAC Attacks!”

“The
Fate of Equinox!”

“Mayhem
of the Music Meister!”

“Death
Race to Oblivion!”

“The
Golden Age of Justice!”

“Clash
of the Metal Men!”

“A
Bat Divided!”

“Sidekicks
Assemble!”

“The
Super-Batman of Planet X!”

“Chill
of the Night!”

“The
Siege of Starro! Part 1”

“The
Siege of Starro! Part 2”
“Requiem for a Scarlet Speedster!”

“The
Last Patrol!”

“The
Mask of Matches Malone!”

“Emperor
Joker!”

“The
Criss Cross Conspiracy!”

“The
Plague of the Prototypes!”

“The
Knights of Tomorrow!”

“Darkseid
Descending!”

“Bat-Mite
Presents: Batman’s Strangest Cases!”

“Joker:
The Vile and the Villainous!”

“Shadow
of the Bat!”

“Night
of the Batmen!”

“Battle
of the Superheroes!”

“Time
Out for Vengeance!”

“Bold
Beginnings!”

“Mitefall!”

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As
a fan who’s been suspect to the genesis of Batman from cornball cultural powderpuff
to vengeful Dark Knight, it’s always fun to see the concept of multiple
interpretations take root in actual practice.

When
“Batman Begins” hit movie screens with a darker, more grounded iteration,
television offered lighter fare with “The Batman.” It was as if Warner Brothers
could sense the widespread appeal and sought to give everyone a Batman they
could enjoy depending on which way they wanted to go.

It’s
a smart move on part of the studio, ensuring that no one be made to feel left
out of the fandom while making the effort to aid in the education of fans that
there’s no right or wrong way to interpret Batman.

The
approach worked so well at the time that it was used once more in the height of
appreciation for the character in 2008.

Although,
interestingly and in hindsight, extremity was the way to go both ways.

“The
Dark Knight” created a bleak portrait of Gotham City that was plagued by chaos
and hopelessness privy to the Joker’s madness as it corrupted the proceedings,
destroying everything in its path in a swirl of death and tragedy. This
darkness was only hinted at in “Batman Begins,” pushing the envelope even
further.

And
simultaneously, the same emphasis was put on part of the televised caped
crusader as 2008 introduced fans to “Batman: The Brave and The Bold,” which is
far and away lighter and brighter than “The Batman” ever actually was.

Named
after the popular DC Comics book of the same name that ran in uninterrupted publication
from 1955 to 1983 (with a subsequent mini-series from 1991 to 1999 and a new
ongoing title that’s been going since 2007) The series follows the framework of
the comic by partnering an established Batman with a number of fellow DC Comics
heroes including Aquaman, Red Tornado, Green Arrow, Plastic Man, Blue Beetle,
Metamorpho and several others.

What
I immediately love about this idea is that the show uses Batman’s popularity as
a catalyst for introducing viewers to B and even C-level DC characters they
might have otherwise never known.

It
still retains the focus on Batman, sure, but now kids could walk away from an
episode with a newfound fondness for someone like B’wana Beast or Deadman or
Elongated Man; or, at least, knowledge of their existence.

The
show’s tone is often labeled to be in line with the mid-60s television series
starring Adam West, and I can definitely see that. But it’s far more in sync
with the Silver Age in the comic books more than anything.

Because
of that approach, it’s just amazing to find a Batman heavily influenced by Dick
Sprang’s design aesthetic in the same year of Christopher Nolan’s haunted urban
soldier.

Hell,
a child growing up on a Silver Age visualization of the DC universe is in and
of itself incredible.

From
donning Catwoman in the classic costume complete with a green cape to dressing
Mr. Freeze in the sci-fi spaceman tone he originated in, the visual
approach can also easily lend itself to the treatment of the characters in the Filmation
cartoon series.

This
liberation of whimsy breaks the mold of previous animated encounters, creating
a world where there were no bounds to hold the dark knight or his adventures
back.

From
travelling to distant colorful galaxies to being thrown back into the throes of
time to encountering alternate dimensions and parallel universes complete with their own Batmen, it’s such a wonderfully amped up comic book zaniness that you can’t help
but fall in love with if you allow yourself to.

What
really sets “The Brave and The Bold” apart is that, for several episodes more
specifically towards the end of its broadcast run, it became incredibly
self-conscious about the source material, even more than “Batman: The Animated
Series” or “The Batman.”

This
is demonstrated in one of my favorite episodes, “Bat-Mite Presents: Batman’s
Strangest Cases!”

Overseen
by Bat-Mite, played in a very clever casting choice by Pee-Wee Herman himself,
Paul Ruebens (who’d previously enjoyed a small cameo as the Penguin’s father in
“Batman Returns”), the episode pokes fun at the bizarre and irreverent within
Batman’s pantheon.

First,
of all things, it opens with homage to “Batboy and Rubin,” the Batman parody
that showcased frequently in MAD Magazine specifically during the heights of
the character’s popularity with the 60s show and the Burton/Schumacher movies.

Can
you imagine? The idea of a “Batman” show being so open and receptive to the
character’s history in ALL its aspects that it would willingly acknowledge something
like that is just fantastic.

From
there, we’re given a hilarious romp that hits everything from “Bat-Manga” and
the wild interpretation of the character in the land of the rising sun to a
satirical mockery and parody of the legendary team up of Batman and Robin with
Scooby Doo, rushing to beat Joker and Penguin to a buried treasure left behind
by a long passed mobster in an abandoned theatre.

There's even an inexplicable cameo from Weird Al Yankovic. WHAT!??

Bat-Mite
is rightfully impish and obnoxious when he pops into the show, not unlike his
predecessor from the Filmation show, and Ruebens does a terrific job with him.

I
love the moment of mischievous deviancy when he tries to convince Batman of how
glamorous his battle with the Joker has been through the years. That moment
when he nods to the death of Jason Todd as a result of calling in to vote,
which actually happened with the comics in reality, really hits home just how
crass the character is.

“Guess
how I voted...”

The homages didn't end with Bat-Mite, as the show sought to pay dividends to several incarnations on multiple occassions, such as the wonderful scene that features Batman battling against a brain-washed Superman while armored in the supped-up Batsuit straight off the pages of their conflict at the end of Frank Miller's "The Dark Knight Returns!"

Given
the aesthetic with this incarnation, we’re given a Batman that exudes
overconfidence to a point that’s almost frustrating; I love the character, but
it’s clear that he wins the day because the scripts demand it.

Even
so, Diedrich Bader lends his pipes very well to this authoritative caped crusader
and he clearly dominates the show as it rests on his broad, caped shoulders.

“The
Brave and The Bold,” as with all animated projects from DC Comics, gained the advantage
of having a tremendous laundry list of guest stars and talented recurring voice
actors.

As
a long time Kubrick fan, it was great to hear the iconic grizzled edge of R. Lee
Ermey, perfectly suited for the boxing legend turned hero Wildcat.

Neil
Patrick Harris, stemming from his roots both on Broadway and in fan favorites
such as Joss Whedon’s film “Dr. Horrible’s Sing-Along Blog” lends his
delightful theatricality to the lovably villainous Music Meister in one of the
show’s most critically acclaimed episodes.

The
legendary Kevin Conroy returns to the booth to provide the voice for the galactic
Batman of Zur-En-Arrh and Adam West, still going strong after over forty years,
plays the role of Proto-Bat. What’s interesting here is consider such longevity;
how bringing Adam back into the Batman property with the Grey Ghost when Kevin
was starting out has now translated to Kevin as well with his cameo work both
in “The Batman” and here.

The
show even manages to scoop up a two-episode performance from the Clown Prince
of Crime himself, with Mark Hamill lending his talents to the otherworldly
Spectre.

The
music of “The Brave and The Bold” is admittedly one dimensional and cartoony
but given the mold of the show, it’s no surprise. The theme composed by Andy
Sturmer is delightfully infectious in its own right.

In
spite of the darker psychological layers added to the character over the years,
Batman is, in essence, a creation of comic books. Comic Books are built upon a
foundation of being fun and “The Brave and The Bold” is just that.

Zany,
colorful, bombastic FUN!

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Chas Blankenship's 'Bat-Mania' 2012 is Proud to Present "Bat-Mite Presents: Batman's Strangest Cases!" from "Batman: The Brave and The Bold."

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About Me

The Ultimate Heroes. The Ultimate Tributes.
A pair of blogs devoted to the archiving and examination of the World's Finest super heroes.
Batman. Superman.
Whether you're one of the dark knight or man of steel's devoted fans around the world or a newcomer interested in learning about the caped crusader and the last son of krypton, I hope you join me on an incredible odyssey from the late 1930s to 2014 and beyond.